Welcome!Log InCreate A New ProfileMessage ListNew TopicPrint View Hello, For those experienced with Green Screening: Is an image captured with color sampling 4:2:2 really 'worth it'? Yes, I hate these 'worth it' type questions, but we already have two Sony Z1U's which are 4:2:0 . I hear that converting HDV/4:2:0 -to- ProRes makes it 4:2:2 yet this is making something out of nothing. and that seems fishy. YET - it might well work very well???? Any Real-world experience out there ? We'll do our own tests if we don't get a conclusion word from others more experienced. Plan to use DVMattePro or equivalent for processing. Will be outputting to BluRay / Standard DVD / and possibly Theatrical. Thank you, Ralph Hi Ralph, Yes, image captured with color sampling 4:2:2 is really worth it. A 4:2:2 color space is going to work a lot better than 4:2:0, but equally important is the fact that HDV is long GOP video (one full frame and 14 frames that contain only the changes from the first frame) and ProRes in Intra frame video ( all frames are full frames). ProRes is much better to work with. Get out of HDV as soon as possible, especially if you are going to be chromakeying. Read this. [www.kenstone.net] My 2 cents. --ken Hi Ralph, From real-world experience: Yes, 4:2:2 footage is better for chroma-keying. But read this correctly: only footage that has been captured 4:2:2 provides the extra color information needed for perfect chroma-keying. When you capture HDV your image gets a 4:2:0 color compression hit, and this compression loss can never be recovered. Converting this footage to a 4:2:2 codec does not make your footage any better for chroma keying. On the other hand, converting HDV (or any long GOP format) to ProRes is a very good idea for other reasons, such as better editability and speed. Does color sampling make a big difference for keying ? If your key set is perfectly lit, your captured key image is pristine and your key subjects do not have too many pitfalls (such as glass, tiny hairs of fast moving objects) you will be able to pull a perfect key with HDV footage and the color sampling will not make a critical difference. Only in less optimal circumstances the difference between 4:2:0 and 4:2:2 color sampling will become prominent. As always with video or film, the real quality of your image is made during the shoot, and not in post-production. We have tested DVMattePro and it is a very decent keying application. We do have much better ones, such as UltimatteAdvantage and Keylight and of course the Primatte keyer in Shake, but these require a good basic knowledge of keying techniques and a steep learning curve. DVMattePro is quite straightforward and good, but don't let the marketing talk fool you: it won't do miracles unless your background and key object are perfectly lit. So spend your money on good lighting and a good shooter, and the majority of your key work will already be done before you even get in post. Best wishes, Ronny Thanks Ken and Jerry, Our lighting will be very good so I think we can 'get away with' our Z1U for the first interviews. Hopefully the producers will opt to buy a better camera for more than just green screen issues. What about progressive and green screening? I heard it is better that interlaced. I heard that the HDVi can be converted to progressive. Hopefully that can be done at the same time it convert to ProRes, to avoid another conversion in the w-flow. Possible? Can you suggest software for this? OR - is there a hardware solution that will help not only with a convert to Progressive but also greatly speed up effects rendering of HDV or ProRez timelines? Thanks much. BTW - I just read about the SheerVideo codec. Have you tried it? Sounds just great. Holy Grail-like. -R. It is correct that progressive footage is easier to key. But don't be mistaken: progressive footage is not the same thing as de-interlaced footage. De-interlacing interlaced footage always results in some degree of quality loss, depending on the de-interlacing method used. That quality loss could lead to more difficult keying than if you were to use the full quality interlaced footage. If your final delivery format includes TV or DVD you should not de-interlace your footage if you want to preserve the best quality. The SheerVideo codec can be compared to Avid's DNxHD or Apple's ProRes codecs. All of them are near-lossless and allow editing uncompressed footage at a considerably lower file size and a faster speed than Uncompressed. For FCP and FCS work the ProRes codec is your best choice because it has been specifically made for these apps. Best wishes, Ronny Thanks Ken, That's right. it was just de-interlacing that can be done. Not Progressive-izing. I'm going to test SheerVideo. (but now having problems installing it). They claim is captures/converts real time (faster than ProRes) and ends up with small file sizes (but compared to what?). My most valued trait would be faster (much faster) rendering time than ProRes or HDV. Thank again, Ken. - Ralph Hi Ralph, I have not worked with SheerVideo, but I can tell you that I have work with ProRes a great deal and I am very impressed. One huge plus is that ProRes is by apple and is native to FCP. --ken Sorry, only registered users may post in this forum. |
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